Korea: East and West - SDA Journal

A couple of weeks ago I received an email from Surface Design Association (SDA)  about renewing my subscription ( I've been a member since 2006).  With regret, I've  come to the decision that  at $75  + $20 postage I no longer afford  it .I'm not making best use of my membership,  and although I've dabbled with other textiles (like the infamous 'Taplow Vase'), art quilts are my primary  interest and membership of SAQA  ( along with CQ) best serves this need.

My main reason for joining was hoping that some day I could attend a conference and learn Pojagi techniques with Chunghie Lee . So it seems fitting that the last issue of their excellent journal I receive has Korean textiles as it's theme and it's an absolute cracker with many innovative works, particularly  the  3D structures such as 'cloudscape' below and the work of  Do Ho Suh 

 Cloudscape -Sojie Feliciano Solomon  

As I've said before, I've long appreciated Pojagi techniques, making this door curtain with machine stitched seams many years ago ( unfortunately it was 'site specific' ,there's no place suitable for it in our current house ) . I really enjoyed the Masterclass  with Chunghie Lee I  participated in at FoQ in 2009 but  although I'm still intrigued by layers of organza (such as recent 'Dislocation' piece) I haven't taken  Pojagi  techniques  further   (unlike Molly Bullick who also attended that class and has used them to fantastic effect).
I'm coming to the conclusion that  this may be because they belong to another culture  and I'm more concerned with exploring techniques and marks personal to me ( not just because  my stitching is getting larger and larger, which wouldn't meet  with approval!) I do however have plans for some of the semi translucent Japanese fabrics I bought with Pojagi in mind following interesting discussions with Ruth Axson at Rydal Hall retreat.

Sandown Inspiration

 

On Friday I went to Sandown for the National Quilt Championships, partly to drop off my 'Unfini-SHED'  donations for Quilters Guild tombola and partly to buy some more fabric from Jo Lovelock!(below). It's very straightforward to get the train to Esher but as there are only 2 trains an hour, as I'd just missed one on my return (despite running up stairs and over the bridge), it gave me plenty of time to  observe the splendid peeling paint ( above)

I also bought some  fabric from  'Images of Egypt' - dyed linen for overdying in indigo and some discharged  cotton and looked at some quilts. There seem to be fewer and fewer competition quilts which is a shame  but there were several  displays by both individuals such as Greta Fitchett as well as groups that were well worth a look. Pieces in 'Elements of Nature' in the 'British Art Quilt Gallery' were particularly interesting. It looks like most of the artists are also involved with  Art Textiles :Made in Britain  - I look forward  to their show on 'Idendity' at FoQ.

Among that group, I was less aware of the work of  Louise Baldwin ( above) than the others but I loved the lively stitching in her small framed pieces.

These contrasted with the controlled machine stitching of  Pauline Barnes - it was great to see such a large diverse display of her work.

 

Inspired by my visit and catching up with various people I headed home to put some serious hours in on my 'Dilocation' quilt while Ian was at his parents. And  it paid off , entry completed and submitted ahead of deadline (just!) Just have to catch up with the housework now... 



 

Blues in the Mail

In response to the Dislocation theme for the next CQ challenge, I settled on  chopping up and rearranging this wonderful piece of hand dyed  cloth from Jo Lovelock ( looking forward to buying some more from her on Friday at Sandown quilt show)

Of course with quilt layered and a deadline looming, I found that  I didn't have quite the right blue threads for the job despite have a good collection - they were all on the red rather than green side of the spectrum.  However some quick online ordering from Barnyarns ('King Tut' and Madeira)  and Wonderfil brought some contenders winging their way through the post. Always difficult choosing colours from the screen but I think the heavier 12wt 'spagetti' and  fruitti' threads will do the trick ( they work fine in the machine with a 14 titanium needle and are nice for hand stitching too)

 

I'd intended to do some sample stitching today but a little fragile after a wine tasting session  yesterday at the Club at the Ivy ( very swish glass elevator) . So instead I took some photos with different orientations of the proposed indigo shibori layer that's going over the top and have left them around to marinade and mull over. I've also finally got round to ordering  indigo supplies from Kemtex - hope to be setting up my own vat in the garden in July, concentrating on dyeing pieces of vintage quilts.

John Virtue Seascapes and Prism textiles

 Taking a days flexi leave ( being nearly 12 hours in hand )  I treated myself to an afternoon of galleries in central London as a reward for cleaning my studio in preparation for friend Maggie coming to stay ( making sure there were no pins on the floor).
I was absorbed by the monochrome seascapes of John Virtue at the Malborough Fine Art Gallery . The  huge canvases gave a  sense of being within the landscape, particularly when you could see several at once and I liked the subtle brush marks in what looked initially like a flat black area.  But  I preferred the smaller works on paper ( still about 1m wide), the variety of marks  more dynamic. Much as I love colour, there's something about the rigour of a limited monochrome palatte that appeals.

Earlier I'd been to see the latest exhibition by Prism at the Mall Galleries . I applied to join a few years ago but wasn't accepted  - probably just as well given the limited time I can devote to textiles at the moment. I  enjoy seeing the variety of work produced by this group - Amanda Hislop, Liz Harding, Alice Fox and Consuela Simpson  were my favourites , mainly I think as they all base their work on marks from the landscape.
Meanwhile, I'm thinking about a potential piece for latest CQ challenge 'Dislocation' using  both the front and back of a very tatty log cabin quilt. There's a bit too much of the red at the moment - I like the flecks of colour that show through the holes in the backing but not sure about the solid red areas ( although I can always paint them .... )

 

Saddened to hear of the death of Robert Genn  - I've subscribed to his twice weekly letters 'Painters Keys' for several years, his  insights into artists practice have given me a lot of pleasure and food for thought. It's good to hear his daughter is continuing with them.